A neglect of one's sentimental education early in life could bear the most unfortunate fruit. Daniel Kehlmann More Quotes by Daniel Kehlmann More Quotes From Daniel Kehlmann I wanted to write a book that would leave open many riddles and mysteries, even to me. Of course in some cases I do know the answers, but in many others I don't know and don't want to know. Daniel Kehlmann answers writing book It was both odd and unjust, a real example of pitiful arbitrariness of existance, that you were born into a particular time & held prisoner there whether you wanted it or not. It gave you an indecent advantage over the past and made you a clown vis-a-vis the future. Daniel Kehlmann real example past English is much drier. You can get away with a lot less. Pathos, lyricism, these are things you have to tone down if you want the English version of the book to work. Daniel Kehlmann tone want book I really just wanted to write about three brothers. When you do that, though, it gives you this wonderful opportunity to tie together different social milieus, because siblings usually move into different worlds as they grow up. Daniel Kehlmann sibling growing-up brother One of the points where the art world is at its most metaphysical is in this weird aspect of the power of the expert. There are experts who claim they cannot be fooled because they have an inner connection to an artist and can feel whether something is genuine or fake. I've heard experts say, on panels: When it comes to my period, or my painters, I cannot be fooled. And of course that's completely ridiculous. Daniel Kehlmann connections fake art When you translate the American writers who are best with dialogue into German - someone like Elmore Leonard, or Tom Wolfe, who's also quite good with dialogue. It's very hard to translate them well. Daniel Kehlmann translate wells dialogue Also, whenever you have direct speech, and I don't quite know why, but it always gets better in English. Dialogue, the flow of dialogue, English just has a better way with it. Daniel Kehlmann get-better speech way English has a better way with colloquialisms. It has colloquialisms that are colorful and expressive but not too heavy or distracting. In German, if you use colloquialisms, it quickly descends into some kind of dialect literature. Daniel Kehlmann dialect literature use Usually the German translators do something terrible, especially with Tom Wolfe, which is that they make it local. So if the characters are from Harlem, the translators put all this Berlin slang into their mouths, and that's just terrible. You cringe when you read that. But there really is no good solution to the problem, except learning English. Daniel Kehlmann berlin mouths character German can take a lot more pathos than English can. When you say "pathetic" in English it's a disparaging term, but when you say "pathetisch" in German it's just a description, not necessarily negative. That says a lot already. Daniel Kehlmann pathos description negative I'm trying to exploit the bestseller, in a way, but not in the sense of repeating the formula. It's just that the bestseller did so well economically that now I'm freer to do what I want to do, or to try out what I want to try out. Daniel Kehlmann want trying way I think that's just what happens when you write a big bestseller. After that you need to find out: What's the best way to go on? And the worst thing you could do would be to try to repeat the formula. That would be suffocating. Daniel Kehlmann writing trying thinking It's also one of these strange points where metaphysics converges with economy. Because really what the experts are doing is creating value by banishing doubt. All great dead painters basically have this one person, this expert who has the metaphysical power to grant a seal of authenticity. Daniel Kehlmann creating-value experts doubt Exactly as we might ask God, and do ask God, to change our fate. The difference is that in the story the writer actually replies and in the end even changes his mind. Daniel Kehlmann fate differences mind Usually I work out the plot before I start. This time I thought: Writers always talk about not knowing where a book is going - -I want to experience that, too. What I found out is that it's very interesting, but it takes much longer because you have so many false starts. You take wrong turns and you have to go back and start the whole chapter, or the whole section, from scratch. Daniel Kehlmann work-out knowing book When I write a book I'm always questioning the project as a whole. I always feel I might have to just throw it away and forget about it, and I've done that with novels I've started and worked on for a long time. It's an option I need in order to write freely. Daniel Kehlmann writing order book For a while I never show anybody what I'm writing, and during that time I need the feeling that publishing is only an option. I might publish this, I might not. I think if I had to publish it, I might panic. Daniel Kehlmann feelings writing thinking You say fate is almost indispensable to literature - I think it's completely indispensable, at least in a novel, because a novel always has a plot. Even if nothing happens, even if someone just spends a day walking around Dublin, or whatever, there's still something going on. Daniel Kehlmann fate plot thinking So the fact that there's someone who's planning what happens to the characters, writing it down, means that the characters always have a fate. And when we think about fate, we tend think of it as the thing we would have if we were literary characters, that is, if there were somebody out there, writing us. Daniel Kehlmann writing character mean When I look at life I try to be as agnostic and unmetaphysical as possible. So I have to admit that, most probably, we do not have a fate. But I think that's something that draws us to novels - that the characters always have a fate. Even if it's a terrible fate, at least they have one. Daniel Kehlmann fate character thinking
